American - Musician | September 7, 1953 -
I quit college and neglected to tell my dad.
Benmont Tench
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I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
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Bob Dylan's not a hype and a haircut: he's the real thing.
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There was a period when I wrote in Nashville for Maverick and then Warner/Chappell, and it was interesting.
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I did enjoy Nashville a lot of the time, because I made really good friends who were really good songwriters, and they would be a joy to hang out with.
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The idea that I could write songs that people wanted to hear came from other people who said they liked what I did.
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What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.
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Listen to the Beatles' 'Things We Said Today.' Ringo Starr does not play a fill in the entire song. It doesn't need it. 'A Day In the Life' has gorgeous fills, but there, the song needs it. When I play on any record, I'm striving to get where Ringo is. You play what doesn't take you out of the song.
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I've spent most of my life playing with Tom Petty, and he's a damn good songwriter.
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I'm not the best singer, but I like the way I sing my songs.
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The people that call me to play on records call me because they think that I will suit their music. And the people whose music I suit are by and large people that I'm a fan of.
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Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
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